JEAN-LOUIS MATINIER/MARCO AMBROSINI – Inventio
ECM 375 9429
Jean-Louis Matinier (accordion); Marco Ambrosini (nyckelharpa)
Recorded April 2013
There can be no doubt that this wonderfully creative French-Italian duo are irrefutably working outside of the jazz genre, although improvisation does play an important part in the relationship between the pair and the idiomatic music that they produce. There is a strong classical leaning to the source material, with references to Bach, including a delightfully fleet and lyrical ‘Inventio No. 4’ as referred to in the album’s title and inspiration is also drawn from Biber’s ‘Praeludium from Rosary Sonata No.1’, and ‘Qui Est Homo’ by Pergolesi.
The instrumentation is undeniably eunusual yet the combination of the button accordion of Jean-Louis Matinier and Marco Ambrosini’s nyckelharpa create a beautifully unorthodox sound that is both enchanting and communicative. Solo performances for each instrument are heard on two selections each, with Matinier playing his own compositions ‘Szybko’ and ‘Oksu’; and the nyckelharpa (literally translates as ‘keyed fiddle’), which is a traditional Swedish instrument played with a bow like a violin but with keys that when depressed act as frets to change the pitch of the string is heard in glorious interpretations of Bach’s ‘Presto from Sonata g-minor’ and Biber’s ‘Praeludium from Rosary Sonata No.1’.
However it is as a duo that the interaction and dialogue of these virtuoso can be savoured to the full, with the wide variety of timbres that can be coaxed from these traditional instruments. Just check out the rhythmic impetus that propels ‘Tasteggiata’ and the dancing motif of ‘Tateggiata 2’.
A beautiful album, that will not fit easily into any pigeon-hole, and deserves to be heard by those with open ears and an enquiring mind.
Reviewed by Nick Lea
ECM 375 9429
Jean-Louis Matinier (accordion); Marco Ambrosini (nyckelharpa)
Recorded April 2013
There can be no doubt that this wonderfully creative French-Italian duo are irrefutably working outside of the jazz genre, although improvisation does play an important part in the relationship between the pair and the idiomatic music that they produce. There is a strong classical leaning to the source material, with references to Bach, including a delightfully fleet and lyrical ‘Inventio No. 4’ as referred to in the album’s title and inspiration is also drawn from Biber’s ‘Praeludium from Rosary Sonata No.1’, and ‘Qui Est Homo’ by Pergolesi.
The instrumentation is undeniably eunusual yet the combination of the button accordion of Jean-Louis Matinier and Marco Ambrosini’s nyckelharpa create a beautifully unorthodox sound that is both enchanting and communicative. Solo performances for each instrument are heard on two selections each, with Matinier playing his own compositions ‘Szybko’ and ‘Oksu’; and the nyckelharpa (literally translates as ‘keyed fiddle’), which is a traditional Swedish instrument played with a bow like a violin but with keys that when depressed act as frets to change the pitch of the string is heard in glorious interpretations of Bach’s ‘Presto from Sonata g-minor’ and Biber’s ‘Praeludium from Rosary Sonata No.1’.
However it is as a duo that the interaction and dialogue of these virtuoso can be savoured to the full, with the wide variety of timbres that can be coaxed from these traditional instruments. Just check out the rhythmic impetus that propels ‘Tasteggiata’ and the dancing motif of ‘Tateggiata 2’.
A beautiful album, that will not fit easily into any pigeon-hole, and deserves to be heard by those with open ears and an enquiring mind.
Reviewed by Nick Lea